The New Yorker is renowned for its cartoons, which have been a mainstay since the magazine’s founding in 1925. It has published the works of hundreds of cartoonists over the years, but few have proved as prolific or as popular as George Booth. Revered among his colleagues as a cartoonist’s cartoonist, Booth has spent five decades mining huge nuggets of off-the-wall humor from everyday life and ordinary people, making him a particular favorite among the magazine’s discerning r

A Designer’s List of Favorites If your strongest attraction to comics is for the most visually exceptional ones, then there’s a chance that you just might be me. And if you also find yourself reflecting on the most memorable and engaging graphic narratives you’ve encountered this year, then you – a.k.a. I – also might feel compelled to share your findings with printmag.com readers. So let’s get started then, with three outstanding biography comics. icon artist: Elsa Charretie

By: Michael Dooley Never mind that comics were exhibited at the Metropolitan Museum in 1951, then at the Whitney in 1983 and MOMA in 1990. That’s all so 20th century. Finally, comics have arrived at the city’s coolest venue of all: the New York Transit Museum in downtown Brooklyn! Amelia Opdyke Jones: Quarantine the Gumbug!, 1948, and Keep Your Feet Off The Seat!, 1949. New York Transit Museum, William J. Jones Collection. Gift of William J. Jones and Margaritta J. Friday In

Rob Rogers is the editorial cartoonist for the Pittsburgh Post-Gazette. His cartoons are highly respected in the editorial cartoon field. The caricaturist and political commentator Steven Brodner calls his work the “Venus fly trap because his toons are immediately entertaining and then, on further inspection, reveal insight and power.” For the last twenty-five years his publisher John R. Block, a conservative from a likewise conservative publishing family, which owns the Tole

The notorious French anarchist-cartoonist Maurice Sinet, who signed his art Siné, died on Thursday at age 87. His favorite targets included capitalism, colonialism, and Christianity as well as all other major religions. And he viciously skewered them with considerable graphic dexterity and an incisive, often merciless—and occasionally crude and juvenile—wit. Back in 1955, while still in his twenties, he’d already received France’s Black Humor award, Le Grand Prix de l’humour

Alice’s admonition “What is the use of a book without pictures or conversations?” is particularly true during semester break/holiday vacation season. So let’s kick back and look at some of the year’s more noteworthy cartoon, comics, and graphic novel publications. Our good friend the Daily Heller has already covered some high-profile releases, like Little Nemo: Dream Another Dream and Richard McGuire’s Here. And I’ve been chronicling several as well; in one column I recommend

Biased. Disrespectful. Offensive. All sterling job qualifications for any good editorial cartoonist. But “racist”? Woah! Thomas Nast was the granddaddy of the American political cartoon. And having lived in New Jersey, he’s been nominated for induction into the state’s 2012 Hall of Fame. But last month, legislators of both political parties fought to take his name off the ballot. Caricature is oversimplification, a type of dehumanization for speedy communication. It’s also a